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caltropspress · 4 years ago

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RAPS + CRAFTS #3: Alaska

1. Introduce yourself. Past projects? Current projects?

Hi my name is Tim. I am a rapper. You might know me as Alaska, but chances are you do not know me at all. I have been making rap music since the mid-1990s. I was part of a collective called Atoms Family and a group within Atoms named Hangar 18. In 2004 Hangar 18 was signed to the Definitive Jux label. We dropped two albums. One which was good and one which was meh. After the label and group fell apart I started a weird career as a solo rapper who teams up with different producers to form different groups (Crack Epidemic, Words Hurt). The most recent group is named Cargo Cults which is myself and Zilla Rocca. We dropped Nihilist Millennial approx. one year ago. I am currently working on a few projects including the follow up to Nihilist Millennial.

2. Where do you write? Do you have a routine time you write? Do you discipline yourself, or just let the words come when they will? Do you typically write on a daily basis?

I am a husband and a father. I have a full-time job and I am currently enrolled in a Master’s program at NYU. I write whenever I have a spare moment. I usually write in the morning, it is when my mind is most clear and I can give the job the most attention. I have found that I am also the most creative at this time. I am usually writing with a project in mind. As I mentioned earlier I tend to work on projects with one producer. Usually they will give me a gang of beats. I will sit with them and start to write to them. I usually write 4-8 bars every morning. Which means I am usually writing a song a week. Typically I have an idea of what I want to say. I find that the words are always pouring out, but I end up throwing a lot of them out. At this point in my career I know when something is right. It is only at that point that I move on to the next line.

3. What’s your medium—pen and paper, laptop, on your phone? Or do you compose a verse in your head and keep it there until it’s time to record?

I write on my phone. Sometimes I will write in my head but it always ends up on the phone because I am old and my memory is shot.

4. Do you write in bars, or is it more disorganized than that?

I usually write in bars. Sometimes when I am just listening to music, cooking or doing something else a line will pop into my head and I will jot it down in my phone as something to use later. Most times those ideas get tossed.

5. How long into writing a verse or a song do you know it’s not working out the way you had in mind? Do you trash the material forever, or do you keep the discarded material to be reworked later?

It depends. I have scrapped entire albums before because they did not work. Usually it is anywhere from a half a verse to a half of a song. I usually take that material and put it into a running file of ideas to potentially reuse. However, if I do not reuse the idea by the time the album is done I throw them out. I have found that sometimes you have to just let it go. Once everything is precious you can get stuck.

6. Have you engaged with any other type of writing, whether presently or in the past? Fiction? Poetry? Playwriting? If so, how has that mode influenced your songwriting?

I used to write for a few music websites including one that I founded called SYFFAL (shut your fucking face and listen). I have also attempted to start a book on a few occasions detailing my career as a failed musician. I do not know if this helped my writing, but I find that the more I write the more ideas I have.

7. How much editing do you do after initially writing a verse/song? Do you labor over verses, working on them over a long period of time, or do you start and finish a piece in a quick burst?

I am editing throughout the entire process. By the time I get to the end of a song I usually have anywhere from 16 to 40 bars of material that did not make the song. This material ends up in the list I mentioned earlier. I tend to take whatever time is needed. Sometimes songs come together in a few hours, sometimes it takes a month to get through a verse. I view writing a song to be like working on a puzzle. You can force the wrong piece into a spot, but in the end the puzzle is not going to work. You just have to wait until you find the right piece. You know it when you find it. It clicks right in.

8. Do you write to a beat, or do you adjust and tweak lyrics to fit a beat?

When I am working on a project I write to beats. I want to make sure that the words and the flow match the soundscape. When I come up with random lines more often than not they are not written to a beat. If I end up incorporating it into a song I usually have to make edits so that it lands in the pocket.

9. What dictates the direction of your lyrics? Are you led by an idea or topic you have in mind beforehand? Is it stream-of-consciousness? Is what you come up with determined by the constraint of the rhymes?

I usually have ideas of what I want to discuss going into a project. Once the project starts I usually let the beat pick what the topic is going to be. A lot of what I am writing is just me trying to figure out the world around me or a reflection of the inputs. For example, with the Rammellzee song. There was an exhibit of his work at Red Bull Music like two summers ago, I used to go to it all the time on my lunch break. So spending all of that time around his work, and watching the videos of him discussing his philosophy about art is what inspired that song. I added a line at the end about being someone who dons the mask, meaning the mask of Rammellzee. I thought of this idea about doing art for the sake of purity of one’s soul, which is what I always felt Ram was doing and it is what I wanted to do. I would never put myself on the same level as a god like Ram, but at the same time I was writing this song, I was watching all of these Star Wars YouTube channels and there was an episode about this Boba Fett story line. The story followed his armor as it was sold from one person to the next. I liked that idea and how it connected with Rammellzee’s obsession with armor and wanted to incorporate it into the song.

10. Do you like to experiment with different forms and rhyme schemes, or do you keep your bars free and flexible?

I do enjoy it but I am not really concerned with it. I used to be obsessed with it, but I realized that was just to cover up the fact that I didn’t have much to say. I started looking at artists like Andre 3000, who can do all of the technical stuff better than everyone else, but he no longer needs to. He is more concerned with what he is saying and the ideas. He still drops some flex in here and there to remind you what he can do, but ultimately he is serving the song and the vision. That is how I approach it now as well. I am more interested in making a good song than I am in showing people how clever I am.

11. What’s a verse you’re particularly proud of, one where you met the vision for what you desire to do with your lyrics?

I really like “All Power to All People” from the Cargo Cults album. At the time when I wrote it there was so much chaos, it was shortly after Trump won, so the trolls and racist assholes were on full display and the resistance grift was at full force. There was a lot of blaming social media, free speech, and shutting down ideas. A lot of hand wringing about how it was the worst time in American history. I wanted to address those ideas head on because they are so wrong. I wanted to show how important maintaining these values is. I wanted to show all of the ways that the things that we were suddenly vilifying because they brought us temporary discomfort were essential to freedom and giving voice to the voiceless. I also wanted to examine how silencing ideas gives them more power. Moralists never seem to learn this. Once you let an asshole like Milo or Richard Spencer say what moronic bullshit they have to say they are exposed for the shithead idiots that they are. They become powerless. When you give them the power of your fear they win. They want the spectacle because the spectacle is all they have to offer. You do not defeat bad ideas by shutting them out, you defeat them by exposing them as bad ideas.

12. Can you pick a favorite bar of yours and describe the genesis of it?

There is a bar on the title track from the Words Hurt album Soul Music for the Soulless where I say “Watching stranger things and hanging upside down like Poppa Large”. It is a little line in a bigger song but it has been my favorite line for quite some time. I don’t really remember the origin of it, other than it has a few layers to it. Stranger Things has the mirror world called “the upside down” and in the video for the Ultramagnetic MCs song “Poppa Large,” Kool Keith spends a portion of the video hanging from his feet upside down. I don’t know why but it is still my favorite bar ever.

13. Do you feel strongly one way or another about punch-ins? Will you whittle a bar down in order to account for breath control, or are you comfortable punching-in so you don’t have to sacrifice any words?

I punch in all the time. I have zero issue with it as long as you can perform it when you get on stage and the punch is not obvious. We are trying to make the best song we can. If that means a punch, so be it.

14. What non-hiphop material do you turn to for inspiration? What non-music has influenced your work recently?

I don’t spend much time with hip hop in general these days. I actively avoid it because I am writing so much. I find that when I am writing and listening I subconsciously bite what I am listening to. I tend to mostly listen to Jazz and podcasts. When I am seeking inspiration I will usually read.

15. Writers are often saddled with self-doubt. Do you struggle to like your own shit, or does it all sound dope to you?

I used to when I was trying to impress others. After the second Hangar 18 album which was meh, I made a promise to myself to a. Only make music for myself, I don’t care if anyone else likes it as long as I do, and b. To only make music if I have something I want to say or if it is fun. From that point on I have had zero self-doubt because I was making exactly what I wanted to make and doing exactly what I wanted to do. There is a passage in this Carlos Castaneda book talking about self-doubt and how it is a self created and a construct of our ego. I think when you go into something without ego, even if it fails to achieve what you hoped, you can accept it for what it is and that allows you to be present and enjoy what you are doing.

16. Who’s a rapper you listen to with such a distinguishable style that you need to resist the urge to imitate them?

Shit, so many. Woods, Castro, Zilla, Alex Ludavico, Theravada, Blueprint, Moses Rockwell, it goes on and on. It is why I don’t listen to rap that much anymore. I mean I check it when it drops but I no longer obsess over it because too often it leaks into whatever I am working on.

17. Do you have an agenda as an artist? Are there overarching concerns you want to communicate to the listener?

Outside of making myself happy there is no agenda or concern.

RAPS + CRAFTS is a series of questions posed to rappers about their craft and process. It is designed to give respect and credit to their engagement with the art of songwriting. The format is inspired, in part, by Rob McLennan’s 12 or 20 interview series.

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